cross-section paint microscopy report wilton hartfield
TRANSCRIPT
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
1
1
Cross-section Paint Microscopy Report
Wilton
Hartfield, Virginia
For: Stephen Foster
Wilton
1300 Twigs Ferry Road, Route 3
Hartfield, VA 23071
Conservator: Susan L. Buck, Ph.D.
303 Griffin Avenue
Williamsburg, VA 23185
Date: October 28, 2012
South Elevation
Purpose:
The goal of this project is to use cross-section microscopy and pigment analysis
techniques to analyze and identify the paints on selected areas of woodwork and plaster
in the first- and second-floor rooms of Wilton, built in 1763 by William Churchill II.
Detached original exterior woodwork elements in storage offer the opportunity to
document the earliest exterior woodwork coatings. The original paints that remain in situ
will be color-matched for documentation and possible replication with a
colorimeter/microscope.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
2
2
Procedures:
Susan L. Buck and Edward A. Chappell, Colonial Williamsburg Director of Architectural
and Archaeological Research, met with Stephen Foster on June 21, 2012 to discuss the
house and the information that could be gleaned from paint analysis. It was agreed that
the two front rooms, the central passage and the stair passage were the priorities for paint
analysis. This first site visit concentrated on the investigation of these four spaces. The
painted surfaces were first examined at 30X magnification with a monocular microscope.
Samples (about 300 microns in size) were then removed with a microscalpel and placed
in labeled polyethylene baggies for transport.
The second site visit took place on July 31, 2012 and additional samples were taken from
the first-floor passage to document the paints on the original and later sections of cornice,
as well as several additional areas of plaster and baseboard. Samples were also taken in
the stair hall to clarify the paints on two sections of the bolection molding on the staircase
just below the second-floor stair landing at the north end of the room. Several more
samples were taken from the plaster and woodwork in the southeast room, and the rest of
the first and second-floor rooms that had not been explored during the first site visit were
sampled to establish the comparative paint chronologies on the woodwork and selected
areas of plaster.
The samples from both site visits were first examined at 45X magnification with a
binocular microscope and the best samples were selected for cross-section analysis.
These samples were cast into polyester resin cubes for permanent mounting. The cubes
were ground and polished for cross-section microscopy analysis and photography. The
sample preparation methods and analytical procedures are described in the reference
section of this report.
The cast samples were analyzed with a Nikon Eclipse 80i epi-fluorescence microscope
equipped with an EXFO X-Cite 120 Fluorescence Illumination System fiberoptic halogen
light source and a polarizing light base using SPOT Advanced software (v. 4.6) for digital
image capture and Adobe Photoshop CS for digital image management. Digital images
of the best representative cross-sections are included in this report. Please note that the
colors in the digital images are affected by the variability of image capture and color
printing and do not accurately represent the actual colors.
Exterior Paint Analysis Results
Only one type of exterior element has been found that might retain early exterior paint
evidence. All of the other exterior woodwork has been stripped or replaced. Cross-
section analysis of samples from the beaded edge of one transom window suggests that
this transom, and likely most of the original exterior wood trim, was initially painted with
an opaque, deep red-brown, oil-based paint on top of a shellac sealant. (This sealant was
identified based on its characteristic orange autofluorescence in reflected ultraviolet
light.). There is a gritty, translucent, grayish layer on top of the first red-brown paint
which may be a degraded layer of limewash. The third generation is an opaque red paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
3
3
that has now bleached to a pinkish-red. The current opaque chalky white paint is on top
of this red paint, but it flaked away during sampling.
Polarized light microscopy analysis (PLM) shows that the pigments in the first deep red-
brown paint are primarily red ochre, with some red lead. Binding media characterization
with biological fluorochromes confirms that all the exterior paints are bound in oil.
Transom Window Sample Location
Window-1
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
4
4
Sample Window-1. Along edge where there is an accumulation of protected exterior
paint.
Visible Light 200X
Ultraviolet Light 200X
Wood
1. Fragmentary deep red-brown paint
2. Degraded limewash
Shellac sealant in the wood
3. Red paint
1
2
3
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
5
5
Interior Paint Analysis Results
During the first site visit eight woodwork samples and one plaster sample were removed
from the southeast room, eight woodwork samples were removed from the southwest
paneled room, six samples were removed from the central passage and four samples were
removed from the stair passage. One door stored in an outbuilding was also sampled as
its size and construction suggest it might be the original door from the central passage
into the southwest room. Several areas in the central passage and the southeast room
were re-examined and sampled during the second site visit. The rooms at the north end
of the house, and all the second-floor rooms, were also selectively sampled to establish
the surviving paint evidence during the second site visit. The analysis results for each
room will be discussed and illustrated in this section of the report, beginning with the
southeast room.
Southeast Room
The woodwork in the southeast room is now painted deep red, and the plaster walls have
patchy, uneven layers of blue, blue-green, green and yellow paints which are what
remains after a recent treatment for active mold growth. Most of the woodwork in the
room seems to be original to this space, although the partition wall on the west side was
repositioned to create a narrower passage. The date for the movement of the partition
wall is approximately 1820-30, based on the presence of cut nails and the molding profile
style.1 The woodwork on the west wall was sampled for comparison with the intact east
wall to see if the comparative paint histories could provide additional clues about when
the partition wall was moved and what color the woodwork was painted after this
alteration.
One area of plaster on the north wall and one area on the west wall were also sampled to
see if early limewashes (made of slaked lime and water, often with pigments and organic
additives) remain below the most recent opaque green, blue-green and yellow paint
layers. On-site observations at 30X with a monocular microscope suggested that the
most recent opaque yellow, blue-green and dark green paints on the wall remain only in
patchy form, likely because of the mold treatment undertaken earlier in the year. All of
these colored wall coatings are finely ground and evenly mixed, suggesting late
nineteenth century or twentieth-century coatings. Two green areas of the walls were
sampled to get an idea of the earliest representative plaster coating sequences below these
later opaque colored wall paints.
1 Edward A. Chappell, July 29, 2012.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
6
6
Southeast Room Sample Locations
East Wall
North Wall With Later Patchy Yellow, Blue-green and Green Paints
SE-4 SE-1
SE-2
SE-3
SE-9
SE-9a
SE-5 baseboard
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
7
7
South Wall
Southeast Room Woodwork. The woodwork in the southeast room contains the most
complete paint history of all the rooms in the house. Cross-section SE-4 from the south
closet door contains five different layers of oil-bound paint which can be used to help
comparatively date added elements. This stratigraphy can also be used for comparison
with the paints remaining on original woodwork in the rest of the house. The original
coating is a red-brown, oil-based paint applied on top of a shellac sealant. There is a film
of dirt on this first paint layer, followed by thick tannish-brown paint with an uneven
accumulation of grit on its surface. The third generation is a thinly applied brown paint,
followed by a cracked, uneven gray paint in the fourth generation. The current deep red
paint is the fifth generation of paint applied to the woodwork in this room.
Sample SE-4 is a key sample for paint archaeology as the layers are intact and well-
defined. The only first-floor room that was not initially painted deep red-brown is the
southwest paneled room, which was originally painted off-white. But the woodwork
paints in the center passage and stair passage can be directly related to the paints
observed in sample SE-4.
The comparative paint sequences on the woodwork from the west partition wall (SE-6,
SE-7 and SE-8) show that the first paint layer on the west wall is the gray paint found as
the fourth generation on the original woodwork in this room. This suggests the partition
wall was moved quite late in the paint chronology. The chart on page 8 shows how the
paints on the different areas of woodwork (mantel, closet door, architraves, baseboards,
west partition wall) can be aligned.
SE-6
SE-7 SE-8
This section of the
door opening retains
only the most recent
gray and green
paints while the
architrave on the
passage side has a
complete chronology
from Period I
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
8
8
Binding media analysis with biological fluorochrome stains shows that all the woodwork
paints found in this room are bound in oil, with no other organic protein or carbohydrate
additives. The binding media characterization was done with sample SE-4.
Paint Chronology on Southeast Room Woodwork
Generation/Layer Observations 5. Deep red paint West wall door frame (SE-8) is green
4. Gray paint First layer on west wall chair board (SE-6), west wall door architrave
(SE-7), and west wall door opening (SE-8).
Mantel was black (SE-2)
3. Dark brown paint Mantel was black (SE-2)
2. Tannish-brown paint
1. Red-brown paint Baseboards were originally black (SE-5)
1. Shellac sealant Shellac sealant found on all original woodwork
Wood substrate
Sample SE-4. East wall closet door, upper right corner, middle right panel.
Visible Light 200X
Ultraviolet Light 200X
Shellac sealant in the wood
1. Red-brown paint
2. Tannish-brown paint
3. Dark brown paint 4. Gray paint
5. Deep red paint
1
2
3 4
5
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
9
9
Sample SE-4. East wall closet door, upper right corner, middle right panel.
Binding Media Characterization
Ultraviolet Light 200X UV Light & TTC for carbohydrates 200X
UV Light & FITC for proteins 200X UV Light & DCF for saturated and
unsaturated lipids 200X
+ for saturated (cross-linked) oils in the
paints and in the wood
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
10
10
Sample SE-1. East wall, north closet, right architrave, at crack about 4’ up.
Visible Light 200X Ultraviolet Light 200X
Sample SE-2. Mantel, upper left corner of molding surround fireplace opening.
Visible Light 200X Ultraviolet Light 200X
Sample SE-3. North wall, window architrave, left side, about 4’ up, at bead molding.
Paints are worn and eroded in this cross-section.
Visible Light 200X Ultraviolet Light 200X
4. Black paint
1
2
5
3. Black paint
1. Remnants of red-brown
5. Fill material for crack
5. Deep red
1. Red-brown
2. Tannish-brown
2. Tannish-brown
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
11
11
Sample SE-5. South wall, baseboard plinth, just right of east window.
Visible Light 400X Ultraviolet Light 200X
Sample SE-6. Chair board just right of partition wall door, lower edge of surbase.
Visible Light 200X Ultraviolet Light 200X
Sample SE-7. West wall partition door architrave, right side, about 6 ½’ up.
Visible Light 200X Ultraviolet Light 200X
4. Gray paint
5. Deep red paint
4. Gray paint (2 layers)
5. Deep red paint
1. Black paint
5. Deep red paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
12
12
Sample SE-8. West wall door opening, north side, in blue-painted area, about 7’up.
Visible Light 200X Ultraviolet Light 200X
Southeast Room Plaster. There are approximately nine generations of unpigmented
limewash above the white finish plaster in sample SE-9 from the north wall. The most
recent coating is an uneven layer of opaque medium green paint. On the second site visit
this area of the wall was re-sampled (SE-9a) and another sample was taken from the later
partition wall for comparison (SE-10). Sample SE-9a has a chronology consisting of four
generations of unpigmented limewash, followed by the same medium green paint found
in sample SE-9. Binding media characterization of the organic components in the
limewashes shows that there are protein components (possibly hide glue or milk) in many
of the early limewashes. There are also spotty positive reactions for oils, which could
relate to deliberate additives or could be the result of penetration of later oily components
from the most recent colored paints into the chalky white limewashes.
The coating history in sample SE-10 from the west wall is quite different. There are no
unpigmented limewashes on the plaster of this later wall. There are only two layers of
relatively thickly applied bright green paint. Binding media analysis of these two green
paints with biological fluorochrome stains show that there are protein and oil
components, suggesting these could be emulsion paint layers which were used as
alternatives to oil paints after the Civil War when there was a shortage of materials such
as linseed oil.
The interior of the south closet was examined but not sampled. At 30X magnification
many fragile generations of fragile, chalky limewashes were noted. These layers are
likely the same as the early limewashes found in sample SE-9 from the north wall.
4. Gray paint
5. Green paint in the passage
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
13
13
Sample SE-9. Wall plaster, north wall, just left of window, about 6’ up in green-painted
area.
Visible Light 200X Ultraviolet Light 200X
Sample SE-9a. Wall plaster, north wall, just left of window, about 6’ up in green-painted
area.
Visible Light 200X Ultraviolet Light 200X
Green paint
Approximately 9 generations of
unpigmented limewash
Finish plaster
Approximately 4 generations of
unpigmented limewash
Green paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
14
14
Sample SE-9. Wall plaster, north wall, just left of window, about 6’ up in green-painted
area. Binding Media Characterization.
Ultraviolet Light 200X UV Light & TTC for carbohydrates 200X
UV Light & FITC for proteins 200X UV Light & DCF for saturated and
unsaturated lipids 200X
Isolated + reactions for proteins Spotty + reactions for oils
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
15
15
Sample SE-10. Wall plaster with bright green paint, west wall, below chair board, right
of door.
Visible Light 200X Ultraviolet Light 200X
UV Light & DCF for saturated and unsaturated lipids 200X
Weak + reactions for saturated (cross-linked) oils
Plaster
Bright green paint (2 layers)
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
16
16
Southwest Room
This paneled room has the most elegant, complex woodwork in the house. The current
light gray-blue paint is dirty, discolored, and streaked with lime from ceiling leaks, but
examinations with a 30X monocular microscope suggested that there is an earlier off-
white or cream-colored layer below the blue-gray paint. Several questions were raised
about this room, including whether the grain-painted decoration on the closet side of the
two closet doors is also present on the room side, and whether the somewhat crude board
below the mantel shelf is a later addition. One detached door stored in an outbuilding
could also be related to the woodwork in this room as its dimensions fit the hall door
opening. Nine paint samples were removed during the first phase of analysis to better
understand the paint histories on the different decorative elements in this space. The
cross-section results were rechecked during the second site visit and two more samples
were taken on and adjacent to the board below the mantel shelf to provide more
information about the timing for this seemingly later, cruder board.
One interesting finding in this room is that the black baseboard color was carried over the
base of the closet door opening and across the bottom rail of the interior surfaces of the
grained door (see below). This dark baseboard paint was also carried across the bottom
rail of the blue-gray painted surfaces of the closet doors.
Southwest Room Sample Locations
West Wall
SE-2 Room side of door
SE-5
SE-7
SW-9 SW-10
Stile
Black baseboard paint continued
onto base of door opening and
bottom rail of door
Black baseboard paint continued
onto bottom rail of door
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
17
17
East Wall South Closet Grained Door
Southwest Closet Door Opening Panel Below Mantel Shelf
SW-4 SW-8
SW-1
SE-3
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
18
18
Detached Door
Southwest Room Woodwork. The most important finding in terms of understanding the
original appearance of this room is that the woodwork was first painted with an oil-bound
light cream-colored paint. In some cross-sections (SW-1, SW-2) there is a primer below
the cream-color, but in other areas this primer is missing. The second generation is the
current blue-gray paint. This blue-gray paint was clearly applied after the original paint
became deeply cracked and dirty, so it must be a considerably later repainting, possibly
30 to 40 years after the original cream color. The best examples of the cross-sections
containing these two paint generations are from a door architrave (SW-1), the room side
of one closet door (SW-2), and a pilaster plinth (SW-6).
The first phase of analysis suggested that the crude panel below the mantel shelf was part
of the original installation (see sample SW-4). However, uncast portions of sample SW-4
were re-examined, and the cross-section was repolished, and this additional analysis
suggests that there is a thin off-white primer, not a finish coat below the blue-gray paint.
One more sample (SW-9) was taken from the right side of the same board and it only
contains the blue-gray layer found as the second generation. The stile just to the right of
this board retains remnants of the first cream-colored paint, followed by the second-
generation blue-gray paint. The evidence in this group of samples helps to confirm that
the crude board was installed before the second generation of blue-gray paint was applied
to the paneling. So, this board appears not to be part of the original paneling installation,
but it was installed before the room was entirely painted blue-gray.
There are two generations of paint on the grain-painted side of the closet doors and the
first generation is the same light cream-colored paint found on the rest of the woodwork.
The graining was applied in the second generation and it consists of a dull yellow base
coat, an uneven red-brown glaze layer to create the figure of the wood, and a thin, uneven
plant resin varnish layer (see sample SW-3). So, the graining on the inside of the closet
Door-1
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
19
19
doors seems to coincide with the current blue-gray paint on the paneling. No evidence of
graining was found on the room side of this door (sample SW-2). The closet door
opening was found to have three generations of coatings (sample SW-8), beginning with
a light cream color, followed by the same dull yellow paint used as the base coat on the
grained side of the door. There is a degraded, slightly translucent off-white coating
above the dull yellow. When this sample location was reviewed on-site, the cross-section
with three generations of coatings was not found to be consistent with the overall surface
of both closet door openings. The most recent whitish layer may be a modern glue, not
an early coating, as it is finely divided and nonfluorescent in reflected ultraviolet light.
The evidence suggests that the baseboard was painted black with only one layer of now
eroded black paint (sample SW-7). This is the coating that continues onto the bases of
the door architraves and the bottom rails of the closet doors, suggesting that the
baseboards were not completely painted until the second generation of blue-gray paint.
Or the paints on the baseboards are so worn and eroded that the full paint history does not
survive on these vulnerable surfaces.
Sample SW-1. East wall, upper left corner of door architrave.
Visible Light 200X Ultraviolet Light 200X
Sample SW-2. West wall, south door, upper left corner, middle left panel.
Visible Light 200X Ultraviolet Light 200X
2. Blue-gray paint
1. Cream-colored paint
1. Off-white primer
1. Cream-colored paint
2. Blue-gray paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
20
20
Sample SW-3. West wall, south door, inner grain-painted surface, right stile, at hole in
upper corner.
Visible Light 200X Ultraviolet Light 200X
Sample SW-4. West wall, panel below mantel shelf, upper left corner (is this a later
board?).
Visible Light 200X Ultraviolet Light 200X
Sample SW-6. West wall, detached pilaster plinth for north pilaster, at rear left edge.
Visible Light 200X Ultraviolet Light 200X
UV Light & DCF for saturated and unsaturated lipids (oils) 200X
Weak positive reactions for saturated (cross-linked) oils
2. Off-white primer
2. Blue-gray paint
1. Shellac sealant
1. Off-white paint
2. Blue-gray paint
1. Cream-colored paint
2. Graining layers
Very thin varnish on the graining
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
21
21
Sample SW-7. Baseboard plinth, northeast corner.
Visible Light 200X Ultraviolet Light 200X
Sample SW-8. West wall, opening for south closet door, left side on darkened cream-
colored paint, upper left corner.
Visible Light 200X Ultraviolet Light 200X
UV Light & DCF for saturated and unsaturated lipids 200X
Sample SW-9. West wall, board above fireplace opening, right side.
Visible Light 200X Ultraviolet Light 200X
1. Cream-colored paint
2. Dull yellow paint
3. Possibly whitish glue
1. Eroded black paint
2. Blue-gray paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
22
22
Sample SW-10. West wall, stile on right side of fireplace opening, near SW-9.
Visible Light 200X Ultraviolet Light 200X
Detached Door. The door stored in the outbuilding was also sampled to see if the paints
remaining on both sides could relate it to the southwest room. On the raised panel side
(sample door-1) the first paint is the same red-brown observed as the original paint in the
southeast room and passage. This is followed by remnants of the second generation
tannish-brown paint, and then the green paint that is the fifth (most recent) paint on the
woodwork in the center passage. On the flat panel side there is only one layer of light
cream-colored paint which matches up with the original paint on the woodwork in the
southeast room. This comparative paint evidence solidly links this door to the southeast
room.
Door-1. Raised panel side, on blue-gray painted stile.
Visible Light 200X Ultraviolet Light 200X
Door-2. On flat panel side, fragments of paint along join.
Visible Light 200X Ultraviolet Light 200X
1. Red-brown paint
2. Remnants of tannish-brown paint 5. Green paint
1. Light cream-colored paint
2. Blue-gray paint
1. Cream-colored paint remnants 1. Cream-colored paint remnants
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
23
23
Central North-South Passage
The woodwork in the center passage was examined and sampled to establish the paint
stratigraphy on the original woodwork on the west and north walls for comparison to the
paints on the elements related to the ca. 1820-30 partition wall on the east side of the
passage. Explorations on-site suggested that the original woodwork was painted with the
same red-brown paint found as the first coating on the woodwork in the southeast room.
Six paint samples were initially removed from representative areas of woodwork in this
space for analysis. During the second site visit two sections of cornice were sampled to
compare the paint history on the cornice on the north wall with the cornice on the
partition wall that overlaps the earlier north end cornice. Two samples of plaster were
also taken to compare the coatings on the west wall with the coatings on the later
partition wall.
Central Passage Sample Locations
Looking North
P-1
P-4 P-3
P-8
P-7
P-12
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
24
24
Central Passage Sample Locations
East Wall West Wall
Passage Woodwork. The comparative paint chronologies show that there are five
generations of paint on the original woodwork that can be aligned with generations 1
through 5 on the woodwork in the southeast room. Generation 1 is the same oil-bound
red-brown paint found as the original paint on the southeast room woodwork and on the
detached door (door-1). Generation 2 is the same tannish-brown paint, and generation 3
is the same dark brown paint as the comparable layers in the southeast room. The most
recent layer is the blue-green paint now on the woodwork, and that seems to relate to the
fifth generation deep red paint in the southeast room.
The gray paint found as generation 4 in the southeast room was the first layer on that side
of the partition wall. However, this gray paint is missing in all but one cross-section from
the passage, so perhaps the passage woodwork was not completely repainted until the
green paint was applied in the fifth generation. The complete paint histories were found
in samples P-4 from the arch, P-5 from the east partition wall door architrave, P-6 from
the west wall door architrave, P-7 from the north wall cornice, and P-9 from the west wall
pegrail.
Polarized light microscopy of the dispersed pigments in the most recent (fifth generation)
green paint layer shows that it contains chrome green, a synthetic pigment comprised of
chrome yellow and Prussian blue that was commercially available after approximately
1825. This is consistent with the proposed date of 1820-30 for the movement of the
partition wall on the east side of the passage concurrent with the fourth paint generation.
Chrome green is not particularly light-fast, and tends to “become blue in strong light
P-2
P-6 P-5
P-3
P-9
P-10
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
25
25
because of the darkening of the chrome yellow component.”2 This suggests the current
blue-green paint on the woodwork was originally much greener and less blue in color.
During the second site visit the north and east wall cornices were examined more
thoroughly. The construction evidence showed that the east wall cornice on the later wall
overlapped a narrow section of the original north cornice in the northeast corner.3
Comparison of the paint histories on the two sections of cornice shows that the complete
chronology remains on the north wall cornice (P-7) while only the most recent green
paint is on top of the wood in the sample from the east wall cornice (P-8).
The pegrail on the west wall was examined and sampled for comparison with the east
wall pegrail and the comparative stratigraphies show that all the woodwork paints remain
on the west wall pegrail (P-9), while only the most recent green paint remains on the east
wall pegrail (P-3).
The east and west wall baseboards were also sampled for comparison and the evidence is
less compelling. Both samples (P-2 from the east wall and P-11 from the west wall)
consist of only one thin layer of black paint on top of a shellac sealant. These baseboard
cross-sections are similar to the baseboard findings for the southwest room (SW-7), so
the paint evidence cannot help with comparative dating.
The comparative paint chronologies show that the east wall door architrave is an original
element that was relocated when the partition wall was moved, but the baseboard,
cornice, chair board and pegrail on the east wall date to the movement of this partition
wall.
Paint Chronology on Central Passage Woodwork
Generation/Layer Observations 5. Green paint Only green paint found on the east wall chair board (P-1),
and east wall pegrail (P-3) and east wall cornice (P-8),
east and west wall baseboards were black (P-2 and P-11)
4. Gray paint Found only on the door frame for the east wall door (SE-8)
3. Dark brown paint
2. Tannish-brown paint
1. Red-brown paint
1. Shellac sealant Shellac sealant found on all original woodwork
Wood substrate
2 Rutherford J. Gettens and George L. Stout, Painting Materials: A Short Encyclopedia, New York: Dover,
1966, 106. 3 Edward A. Chappell, July 31, 2012.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
26
26
Sample P-1. East side chair board, about 1 ½’ north of door opening.
Visible Light 200X Ultraviolet Light 200X
Sample P-2. East side baseboard, about 1 ½’ north of door opening.
Visible Light 200X Ultraviolet Light 200X
Sample P-3. East side, pegrail, in middle at edge of existing peg hole (only one layer of
blue-green paint).
Visible Light 200X Ultraviolet Light 200X
5. Green
5. Black
5. Green
Shellac sealant
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
27
27
Sample P-3. East side, pegrail, in middle at edge of existing peg. Pigments in the green
paint layer. Chrome green, white lead, calcium carbonate, and a few dispersed Prussian
blue particles.
Plane polarized transmitted light 1000X Crossed polars (darkfield) 1000X
Sample P-4. North end arched opening, upper right side of architrave.
Visible Light 200X Ultraviolet Light 200X
Sample P-5. East partition wall, door architrave, left side, about 5 ½’ up.
Visible Light 200X Ultraviolet Light 200X
5. Green
1. Red-brown
2. Tannish-brown
1. Red-brown
2. Tannish-brown
3. Dark brown 5. Green
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
28
28
Sample P-6. West wall, door architrave, upper right corner.
Visible Light 200X Ultraviolet Light 200X
Sample P-7. North wall cornice in NE corner (has early red-brown paint).
Visible Light 200X Ultraviolet Light 200X
Sample P-8. East wall cornice in NE corner (only one green paint layer).
Visible Light 200X Ultraviolet Light 200X
Sample P-9. West wall pegrail, at join with right door architrave.
Visible Light 200X Ultraviolet Light 200X
1. Deep red-brown
2. Tannish brown
3. Dark brown
5. Green
5. Green
5. Green
Wood substrate
5. Green
2. Tannish brown
1. Deep red-brown
3. Dark brown
1. Deep red-brown
Limewash overlap
Shellac sealant
Shellac sealant
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
29
29
Sample P-11. West wall, baseboard just right of west wall door.
Visible Light 200X Ultraviolet Light 200X
Passage Plaster. Samples were removed from the plaster on the east and west walls to
see how the original coating sequence on the west wall compares with that on the east
partition wall. Sample P-10 came from above the door on the west wall and sample P-12
came from the east wall in the northeast corner. A long sequence of unpigmented
limewashes remains on the west wall, with 14 generations on top of coarse white finish
plaster. By comparison, there are only three generations of unpigmented limewashes on
top of the coarse white finish plaster on the east wall. There is very little dirt trapped
between the limewash coatings, suggesting the central passage was recoated with similar
limewashes quite frequently.
Sample P-10. West wall plaster, at crack in cornice above door.
Visible Light 100X Ultraviolet Light 100X
Thin layer of black paint
Shellac sealant
Plaster
Approximately 14
generations of
unpigmented limewash
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
30
30
Sample P-12. East wall plaster on partition wall in NE corner.
Visible Light 200X Ultraviolet Light 200X
Plaster
Approximately 3
generations of
unpigmented limewash
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
31
31
East-West Stair Passage
Four different areas of woodwork in the stair passage were sampled during the first site
visit to better understand the original coatings and the comparative paint chronologies.
Some of the staircase elements (brackets, balusters, handrail, stair tread nosing) have a
bleached, faded appearance and do not appear by eye to have been painted. By eye it is
also possible to see the original red-brown paint on many areas of the staircase woodwork
where the later green paint has weathered away.
During the second site visit Ed Chappell pointed out that the bolection molding below the
railing at the second-floor landing is unusual and might be a later addition to the staircase
woodwork. Three samples were taken from this molding and the results are discussed in
the section describing the findings for the second-floor stair landing.
Stair Passage Sample Locations
South Wall
East Wall
EW-1
EW-2
EW-3
EW-4
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
32
32
Cross-section microscopy analysis results confirm that the first paint applied to the
woodwork is the same red-brown paint found as the original coating on the woodwork in
the southeast room and the central passage. This is followed by one layer of green paint
that appears to be the same green paint identified as the fifth generation in the central
passage. This paint appears distinctly more green in the stair passage, particularly in the
areas that are less exposed to direct sunlight.
The evidence in one sample from a stair bracket (EW-2) suggests that the brackets, and
likely the other unpainted staircase elements, were first coated with a layer of red-
pigmented shellac. This material is still trapped in the wood fibers. After this finish was
almost completely worn from the surface the wood was recoated with a layer of oil-resin
varnish which is now quite darkened, weathered and degraded. This evidence shows that
the original appearance of the baluster, brackets, handrails and stair tread nosings was
glossy, with the figure of the wood enhanced by the deep red-pigmented stain.
Sample EW-1. South wall, north face of stair above landing, green paint protected by
edge of bracket.
Visible Light 200X Ultraviolet Light 200X
Sample EW-2. South wall, north face of stair above landing, surface of bracket.
Visible Light 200X Ultraviolet Light 200X
1. Deep red-brown
5. Green
2. Oil-resin varnish
1. Pigmented shellac in the wood
1. Pigmented shellac in the wood
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
33
33
Sample EW-3. South wall, chair board, left of arched opening.
Visible Light 200X Ultraviolet Light 200X
Sample EW-4. Board below stair landing, facing west, upper edge.
Visible Light 200X Ultraviolet Light 200X
5. Green
5. Green
1. Red-brown
1. Red-brown
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
34
34
North Middle Room
The woodwork in the north middle room is now dirty and blanched, and it appears that
the architraves for the door moldings on the north wall were partially stripped. The
black-painted mantel is a later installation in the room.4 Two samples were taken from
one original window and one sample was taken from the later mantel to document the
surviving paints.
North Middle Room Sample Locations
North Wall
4 Chappell, July 31, 2012.
NMR-3
NMR-1
NMR-2
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
35
35
The evidence in sample NMR-1 from the west wall window indicates that this woodwork
was painted three times. There are remnants of the same red-brown paint found as the
original coating on the woodwork in the central passage, stair passage and southeast
room. This is followed by a gray paint that resembles the fourth generation on the
woodwork in the southeast room. The most recent paint layer is a light gray-blue not
found elsewhere on the first-floor woodwork.
In sample NMR-2 from the baseboard it is possible to see pockets of trapped red-brown
paint in the wood, indicating that the entire window woodwork was originally painted
red-brown, and that the baseboard was likely repainted black when the rest of the window
was repainted gray. The door architraves on the north wall retain an uneven film of red-
brown paint suggesting that the entire room was originally painted red-brown.
The coatings on the mantel (NMR-3) consist of several degraded and uneven layers of
uneven resinous black paint which cannot be matched up with the other paints found on
the first-floor woodwork of the house.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
36
36
Sample NMR-1 Panel under west wall window seat, upper right corner.
Visible Light 400X Ultraviolet Light 400X
Sample NMR-2. Baseboard under west wall window seat, right side.
Visible Light 200X Ultraviolet Light 200X
Sample NMR-3. Mantel, right pilaster, at top edge.
Visible Light 200X Ultraviolet Light 200X
Shellac in wood
1. Remnants of red-brown paint
2. Gray
3. Light blue-gray
2. Thin black paint
Shellac sealant
Shellac sealant
1. Remnants of red-brown paint
Resinous black paints
1. Remnants of red-brown paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
37
37
Second-floor Southeast Room
The explorations on-site suggested that all the woodwork in the southeast chamber was
only painted once with the same red-brown paint found as the original coating on most of
the first-floor woodwork. This paint is now worn, bleached, and degraded.
West Wall Door
Only one uneven layer of oil-bound red-brown paint was found in the three samples taken
from the door, the window seat and the baseboard. It is remarkable that the woodwork in
this room has only been painted once. The cross-section evidence clearly shows that the
same red-brown paint used as the original coating on the woodwork in all the first-floor
rooms, except the southwest room, is still exposed on the woodwork in this second-floor
chamber.
Sample 2SE-1. Back of door, at join of top rail with left stile.
Visible Light 200X Ultraviolet Light 200X
1. Remnants of red-brown paint
2SE-1
2SE-2
2SE-3
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
38
38
Sample 2SE-2. North wall, left panel for window seat surround, at front edge.
Visible Light 200X Ultraviolet Light 200X
Sample 2SE-3. North wall, baseboard just left of window seat.
Visible Light 200X Ultraviolet Light 200X
Second-floor Southwest Room
When the plaster in this room was examined at 30X magnification it was apparent that
many layers of unpigmented limewash remain. There is also a ghost-like outline in red-
pigmented limewash above the opening for the firebox that suggests that a red faux-
painted mantel might have been created to simulate a wooden mantel. Two areas of
plaster and one area of woodwork were sampled to document the surviving coatings.
West Wall North Wall
1. Uneven red-brown paint
1. Uneven red-brown paint
2SW-1
2SW-2
2SW-3
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
39
39
The woodwork cross-section 2SW-3 was taken from the chair board and it contains one
worn layer of red-brown paint, like the samples from the woodwork in the southeast
chamber.
The two samples from the plaster are intriguing. In sample 2SW-1, from the plaster on
the west wall above the location of the mantel shelf, there are approximately 17
generations of unpigmented limewash. The limewash layers are surprisingly clean and
even, suggesting the walls were initially recoated on a regular basis. In sample 2SW-1
there is a thin layer of red-brown oil-paint on top of four generations of unpigmented
limewash. The presence of this red-brown woodwork paint above the fireplace suggests
that a painted mantel could have been created by painting the plaster to simulate the
outline of a wooden mantel. The red-brown paint on the plaster resembles the woodwork
paint, but it is much more thinly applied, so perhaps the faux-painted mantel was created
a few years after the woodwork was painted.
Detail of Red-Painted Mantel Ghost Below Later Limewashes
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
40
40
Sample 2SW-1. West wall, red wash on plaster above fireplace opening (possible faux-
painted mantel).
Visible Light 100X Ultraviolet Light 100X
Sample 2SW-2. West wall, plaster above shelf level, unpigmented limewashes.
Visible Light 100X Ultraviolet Light 100X
Visible Light 200X substrate Ultraviolet Light 200X
Thin red-brown paint above washes
Sandy finish plaster
Approximately four
generations of unpigmented
limewashes
Sandy white finish plaster
Approximately 17
generations of unpigmented
limewashes on top of sandy
white plaster
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
41
41
Sample 2SW-3. North wall, red paint on chair board, just left of window.
Visible Light 200X Ultraviolet Light 200X
Second-floor Passage
The painted woodwork in the second-floor passage is less bleached and discolored from
light exposure than the chambers. Three samples were taken from an architrave, door
and baseboard to establish the original palette for this space and determine how the paints
relate to the adjacent chambers.
The three cross-sections confirm that the same original red-brown paint found elsewhere
was used on the doors, architraves and baseboards in this space. There is only one layer
of this worn red-brown paint remaining above the shellac sealant in all three samples.
There is a grayish waxy coating on top of the paint on the baseboard (2P-3) which may
be an overlap of an early wax coating applied to the floors.
1. Uneven red-brown paint
2P-1
2P-2
2P-3
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
42
42
Sample 2P-1. West wall, upper right corner of door architrave.
Visible Light 200X Ultraviolet Light 200X
Sample 2P-2. Passage side door to second-floor south southeast chamber, upper left
corner of middle left panel.
Visible Light 200X Ultraviolet Light 200X
Sample 2P-3. West side baseboard just right of door.
Visible Light 200X Ultraviolet Light 200X
1. Uneven red-brown paint
1. Uneven red-brown paint
1. Uneven red-brown paint
Grayish waxy coating
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
43
43
Second-floor Stair Passage
The second-floor stair passage is somewhat more complicated as there is a fancy raised
panel door to the closet in the southwest corner which may have been relocated to this
position, and there is a deep gouge on the left stile for the door to the north middle
chamber which has a layer of red paint on top of it. These doors were sampled for
comparison, as was the bolection molding below the stair landing on the west side of the
staircase.
Closet Door Southwest Corner North Wall Door
Gouge on Left Stile of North Wall Door
2SP-4
2SP-5
Red paint on
gouged
surface of left
rail
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
44
44
West Side of Staircase Bolection Molding Detail
There are only two generations of paint on the woodwork in this space. This first layer is
the original deep red-brown found in most of the house, and the second generation is the
current green paint on the woodwork. The samples from the bolection molding (2SP-1)
and the molding just below the bolection (2SP-3) are missing the first red-brown layer,
confirming Ed Chappell’s theory that these elements were added later. The fascia
molding below the bolection retains the first red-brown paint layer so it is part of the
original construction.
There are two generations of red-brown paint in the cross-section from the closet door
(2SP-4), which are similar in color and composition. Only one layer of degraded red-
brown paint was found in the cross-section from the north wall door (2SP-5), but it is
likely this door was repainted red-brown as the red-brown paint extends across a large
damaged area of the left stile of this door.
Sample 2SP-1. Right side of bolection molding below balusters at north end (no red-
brown).
Visible Light 200X Ultraviolet Light 200X
2SP-2
2SP-3
2SP-1
5. Green paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
45
45
Sample 2SP-2. Right side of fascia molding below balusters at north end, below sample
2SP-1.
Visible Light 200X Ultraviolet Light 200X
Sample 2SP-3. Right side of applied backband molding below sample 2SP-1 (no red-
brown).
Visible Light 200X Ultraviolet Light 200X
Sample 2SP-4. Southwest corner, fancy raised panel door to closet, upper left corner,
middle left panel.
Visible Light 200X Ultraviolet Light 200X
Sample 2SP-5. North wall, door to middle north chamber, upper left corner of middle
right panel.
Visible Light 200X Ultraviolet Light 200X
1. Red-brown paint
2. Thin red-brown paint
1. Uneven red-brown paint
5. Green paint
5. Green paint
1. Thin red-brown paint
5. Green paint
5. Green paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
46
46
Second-floor North Middle Room
The woodwork in this room is painted deep red-brown and appears to be the same color
as the woodwork in the adjacent stair hall. The mantel is a later addition and has been
mostly stripped of its early paints. One door, a section of chair board and the mantel
were sampled to establish the remaining paints. (No photographs were taken of this
room.)
The samples from the closet door (2NM-2) and the chair board (2NM-3) retain the first
generation of red-brown paint found on other comparable second-floor woodwork
elements. In this room the evidence suggests that the woodwork was repainted with
another red-brown paint on top of a translucent whitish primer. It is not clear why this
room would have been repainted when the two south chambers were only painted once.
The mantel retains evidence that it may have originally been marbleized as the first
generation consists of a gray base coat, followed by a thin black glaze and remnants of a
plant resin varnish. This sequence is typical of marbleizing to represent a gray stone with
black veining. There are remnants of a resinous brown paint on top of the marbleizing
that was not found elsewhere in the house. The mantel may have been stripped of most
of its paints before it was installed in this room.
Polarized light microscopy analysis was conducted to identify the pigments in the first
red-brown paint layer in sample 2NM-2 as it is typical of the red-brown paint found
through the house. The pigments were found to be primarily red ochre, iron oxide red-
brown (possibly burnt sienna) with some red lead and calcium carbonate particles. All of
these pigments were readily available in the eighteenth century and were generally color-
stable.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
47
47
Sample 2NM-1. Later mantel, fluted pilaster right side where there are remnants of
brown paint on top of early black.
Visible Light 200X Ultraviolet Light 200X
Sample 2NM-2. North wall, west closet door, upper left corner, middle right panel.
Visible Light 200X Ultraviolet Light 200X
Sample 2NM-2. North wall, west closet door, upper left corner, middle right panel.
Pigments in the first red-brown paint layer.
Plane polarized transmitted light 1000X Crossed polars (darkfield) 1000X
1. Thin red-brown paint
2. Thin red-brown paint on whitish
primer
1. Gray paint
1. Thin black glaze
2. Resinous brown paint
Varnish remnants
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
48
48
Sample 2NM-3. South wall, chair board 3-feet left of door to stair passage, above bottom
bead molding.
Visible Light 200X Ultraviolet Light 200X
1. Uneven red-brown paint
2. Thin red-brown paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
49
49
Second-floor North Room
There are traces of gray paint trapped in the most protected areas of the window seats and
chair rails in this room. One area of gray paint at the front edge of a window seat was
sampled to determine whether it was the original coating on the woodwork. It is difficult
to see any paint coating on the baseboards at 30X magnification, but one sample was
taken from a darkened area of baseboard on the west wall for analysis. The remaining
plaster appears to have been limewashed many times, and one sample was taken to
document the coating history on the walls.
East Wall Window Seat West Wall Baseboard
North Wall
2NR-1
2NR-2
2NR-3
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
50
50
Sample 2NR-1 from a trapped area of gray paint on a window seat shows that there is a
distinct layer of gray paint on top of wood that was sealed with shellac. Polarized light
microscopy analysis shows that this paint is composed of the common pigments white
lead, charcoal black, lampblack and calcium carbonate, and a few isolated Prussian blue
pigments, all of which were readily available and relatively inexpensive pigments in the
eighteenth century. Binding media analysis shows that there are oil components in the
gray paint, but no other organic additives.
There is no evidence of paint on the baseboard in sample 2NR-2, but there is a resinous
autofluorescent layer on top of the wood substrate that is characteristic of a brownish
pigmented varnish.
Sample 2NR-3 from an intact area of wall plaster retains at least six generations of
unpigmented limewash on top of a sandy white plaster substrate. This is consistent with
the wall plaster evidence in the second-floor southwest chamber.
Sample 2NR-1. East wall, gray paint at front edge of window seat, left side.
Visible Light 200X Ultraviolet Light 200X
Ultraviolet Light 200X UV Light & TTC for carbohydrates 200X
UV Light & FITC for proteins 200X UV Light & DCF for saturated and
unsaturated lipids 200X
1. Gray paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
51
51
Sample 2NR-1. East wall, gray paint at front edge of window seat, left side. Pigments in
the gray paint layer.
Plane polarized transmitted light 400X Crossed polars (darkfield) 400X
Sample 2NR-2. West wall baseboard, remnants of black paint, left of window seat.
Visible Light 200X Ultraviolet Light 200X
1. Degraded pigmented varnish
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
52
52
Sample 2NR-3. East wall plaster, left of window, above chair board.
Visible Light 200X Ultraviolet Light 200X
Sandy white plaster
Approximately 6 generations
of unpigmented limewash
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
53
53
Conclusion:
During the first phase of analysis the evidence showed that the first-floor interior
woodwork was painted at most five times, and it also showed that the southwest room
and the stair passage were only painted twice. Cross-section analysis of the woodwork
and plaster in the second-floor rooms revealed up to 17 generations of unpigmented
limewash on the plaster in the southwest chamber, with fewer limewashes found in the
other rooms. In the second phase of analysis it was remarkable to find that the woodwork
was only painted with one layer of red-brown paint in the second-floor passage and the
two south chambers. Similarly, just one layer of dark gray was found as the original
paint on the woodwork in the north chamber. These are extraordinary findings
considering that houses of comparable age and size in the Chesapeake might typically
have up to 24 generations of paint on intact areas of woodwork.
The discovery that the paneled southwest room was the only room originally painted with
somewhat glossy cream-colored paint indicates it was intended to be a more refined
entertaining space. When this room was repainted, after a considerable amount of time
had elapsed, it was repainted a monochromatic gray-blue, with graining on the interior
surfaces of the closet doors. It is not possible to determine how much time elapsed
between the original cream-colored paint and the application of the current blue-gray, but
the evidence of aging (cracks, discoloration, trapped dirt) suggests it could be 30 to 40
years later. The original cream-colored palette and the later blue-gray were also not
found in the other rooms. All of the other rooms, with the exception of the second-floor
north chamber, were originally painted with the same red-brown found on the woodwork
in the southwest room.
The paint investigation reveals that decorative painting was employed on a very limited
basis in this house. Fanciful grain-painting was found as the second generation of paint
on the interior surfaces of the closet doors in the southwest room, but not on the room-
side surfaces of these doors. This is quite unusual as graining to replicate figured wood
was typically done on both sides to simulate a door made of more expensive woods. The
only other evidence of decorative painting was found in the second-floor southwest
chamber. There is a ghost of deep red paint on the plasterwork of the fireplace opening
that suggests that there could have been a faux-painted mantel in this room which was
later covered over with many layers of unpigmented limewash.
The following chart provides a synopsis of the oil-bound woodwork paints and water-
based limewashes found in each room. The woodwork was repainted most frequently in
the southeast room and the passage.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
54
54
Room Element Generation
1
Generation
2
Generation
3
Generation
4 (1820-30)
Generation
5 (Post
1830)
First
Floor
Southeast
Chamber
Original
woodwork
Red-brown
paint
Tannish-
brown paint
Dark brown
paint
Gray paint Deep red
paint
Mantel Red-brown
paint
Tannish-
brown paint
Black paint Black paint Deep red
paint
Baseboards Thin black
paint
Deep red
paint
Partition
wall
woodwork
Gray paint Deep red
paint
Original
wall plaster
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
(opaque
green wall
paint could
be late 19th
century)
Partition
wall plaster
Unpigmented
limewash
Unpigmented
limewash
(opaque
bright green
wall paint
could be late
19th
century)
Southwest
Chamber
Original
paneling
Light cream-
colored paint
Blue-gray
paint
Closet
doors
Light cream-
colored paint
Blue-gray
paint
Closet
doors
interior
Light cream-
colored paint
Graining
Detached
door
Light cream-
colored paint
Baseboards Thin black
layer
Thin black
paint carried
across doors
and frames
Board
below
mantel
shelf
Blue-gray
paint on off-
white primer
Passage Original
woodwork
(including
partition
wall door
architrave)
Red-brown
paint
Tannish-
brown paint
Dark brown
paint
Gray paint
(on the inner
frame for the
door to the
SE room)
Green paint
Partition
wall
woodwork
Green paint
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
55
55
Room Element Generation
1
Generation
2
Generation
3
Generation
4 (1820-30)
Generation
5 (Post-
1830)
Original
plaster
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Partition
wall plaster
Unpigmented
limewash
Baseboards Black
Stair Hall Original
woodwork
Red-brown
paint
Green paint
Staircase
balusters,
rails,
brackets
Pigmented
shellac
Oil-resin
varnish
Baseboards Thin black
paint
First-floor
North
Middle
Room
Original
woodwork
Red-brown
paint
Gray Light blue-
gray
Baseboards Thin black
paint
Thin black
paint
Second
Floor
Southeast
Chamber
Original
woodwork
Deep red-
brown
Southwest
Chamber
Original
woodwork
Deep red-
brown
Original
plaster
Unpigmented
limewash
Possible
faux-painted
red-brown
mantel
Passage Original
woodwork
Deep red-
brown
Stair Hall Original
woodwork
Deep red-
brown
Closet door Deep red-
brown
Deep red-
brown
North wall
door
Deep red-
brown
Deep red-
brown
Bolection
molding on
staircase
Green
Staircase
woodwork
Deep red-
brown
Green
North
Middle
Room
Original
woodwork
Deep red-
brown
Deep red-
brown
North
Room
Original
woodwork
Dark gray
Baseboards Pigmented
varnish
Plaster Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Unpigmented
limewash
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
56
56
Recommendations for Cleaning and Stabilizing Painted Surfaces:
It is remarkable to find a house that has been left so intact in terms of its interior paints.
Few other eighteenth-century houses in the United States have survived with paint
surfaces that were so rarely repainted. Even more unusual, it retains woodwork that has
not been painted over in the twentieth century. The 1738 National Trust property
Drayton Hall is one building where it is possible to see the original cream-colored paints
still exposed on the paneling in some of the passages. In other rooms there are only five
to seven generations of paint, and the most recent paints in the other spaces date to the
1880s (the blue and gray palette) or the 1920s (the cream color and maroon palette).
A large paint study conducted there in 1999-2001 by the author, and colleagues Richard
Wolbers and Christine Thomson, identified the paint histories in every room using cross-
section microscopy analysis. This paint study was the first step in devising the best
approaches to cleaning (where possible) and stabilizing the fragile, flaking paints because
they are such a critical part of the history of Drayton Hall.
After two years of testing with ultrasonic misters and airbrushes to apply a fine spray of
water-based consolidant (Aquazol) and then monitoring the test areas, it was determined
that the paints could be reattached and stabilized using primarily airbrushes to gently
apply the consolidant. A copy of that testing report will be submitted separately. This
approach strengthened the adhesion of the paints to the paneling, but did not change the
overall gloss, color or saturation of the aged paint coatings.
A similar approach might be employed at Wilton, particularly in areas of the paneling
and woodwork where the paints are the most fragile and vulnerable, such as near
windows. In other areas it may just be sufficient to lightly dust the surfaces and perhaps
remove sticky soot and grime with soot-removal putties or erasers. Aqueous cleaning
using a surfactant system to remove grime may not be appropriate because the water
could hasten paint loss, as could the mechanical effect of rinsing to remove surfactant
residues. Initial testing by Chris Mills of Christopher Mills Conservation Services, LLC.,
suggests that cleaning with a soap in mineral spirits would be an effective way of
removing surface grime without compromising the aged paints.5 It might also be possible
to use Aquazol 50 or 200 dissolved in nonpolar or aromatic solvents for paint
consolidation to avoid exposing the degraded paints to water or ethanol.
In areas where it may be necessary to paint over the early degraded paints it would be
best to leave all the paint evidence intact by applying a conservation barrier coating, such
as 10 Acryloid B-72 in acetone or xylene, unpigmented shellac, or white-pigmented
shellac (Binn), and then applying the reproduction woodwork or wall paint on top of the
barrier coat. This approach will preserve the paint evidence for future research, control
paint flaking, and present more durable surfaces in areas that might receive the most
abrasion and/or weathering. These types of approaches are used in historic museum
5 Draft Report, Cleaning Tests at Wilton, Hartfield, VA.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
57
57
houses, but Wilton is equally deserving of museum-quality conservation of its interior
surfaces.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
58
58
COLOR MATCHING PROCEDURES
Uncast portions of the most intact samples taken from the deep red-painted exterior
transom window, the original deep red paint on the first and second-floor woodwork, the
original light cream-colored paint on the southwest room paneling, and the gray paint on
the second-floor north room woodwork at Wilton were used for matching with the
Minolta Chroma Meter CR-241, a tristimulus color analyzer/microscope with color
measurement area of 0.3mm. This instrument has an internal, 360-degree pulsed xenon
arc lamp and provides an accurate color measurement in a choice of five different three-
coordinate color systems.
The first layer of deep red-brown paint on the exterior window was exposed with a
scalpel at 30X magnification to provide clean areas for color matching. The exposed
layers were measured three times in three different areas of the exposed target layers to
establish the color coordinates. The measurements were first generated in the Munsell
color system (a color standard used in the Architectural Preservation field), and after the
measurements were taken the closest Munsell color swatches from a standard Munsell
Book of Color (gloss paint standards) was compared under 30X magnification to the
actual samples. The measurements were also generated in the CIE L*a*b* color space
system, which is currently one of the most widely accepted industry color space
measuring systems.
However, when the Munsell matches generated through color measurement were
compared to the actual samples it became obvious that the paints were too darkened and
degraded to allow accurate color measurement. So, a second round of color matching
was done by eye comparing the Munsell swatches to the samples under 30-45X
magnifications and a color-corrected light source. The best visual matches for the
Munsell swatches were then used to generate close commercial paint matches.
The best commercial swatches are provided for reference.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
59
59
Generation 1. Original deep red paint on transom window
Sample “Window-1”
Color-matched September 11, 2012
Benjamin Moore #HC-65 “Hadley Red”
Color System* Coordinates
Munsell Hue Value Chroma
6.9R 3.6 3.7
CIE L*a*b* Black to White Green to Red Blue to Yellow
L37.19 a+16.05 b+9.62
Sample Window-1
The degraded deep red layer was matched by eye at 30X magnification under a color-
corrected light source to the Munsell Book of standards and it was measured with a
Minolta CR 241 colorimeter/microscope. The swatch for HC-65 is an excellent visual
match to the best surviving areas of this original deep red exterior paint. The evidence in
the cross-section and the uncast samples suggest this paint was originally moderately
glossy and could be reproduced in a semi-gloss level coating.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
60
60
Generation 1. Original deep red-brown paint on interior woodwork
Samples 2SW-3, 2P-2, 2SP-4
Color-matched October 9, 2012
Color System* Coordinates
Munsell Hue Value Chroma
0.6YR 3.4 3.9
CIE L*a*b* Black to White Green to Red Blue to Yellow
L34.81 a+18.59 b+14.48
Benjamin Moore #2092-30 “Boston Brick”
Color System* Coordinates
Munsell Hue Value Chroma
9.0R 3.9 5.0
CIE L*a*b* Black to White Green to Red Blue to Yellow
L40.25 a+20.60 b+16.11
Sample 2P-2
The first red-brown layer was matched by eye at 30X magnification under a color-
corrected light source to the Munsell Book of standards and it was measured with a
Minolta CR 241 colorimeter/microscope. The commercial swatch is just slightly lighter
(the L value) than the best preserved areas of the aged red-brown paint. The swatch for
2092-20 is an excellent visual match to the best surviving areas of this original red-brown
interior woodwork paint. The evidence in the cross-section and the uncast samples
suggest this paint was originally moderately glossy and could be reproduced in a semi-
gloss level coating.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
61
61
Generation 1. Original light cream-colored paint on southwest room woodwork
Samples SW-1, SW-2, SW-6
Color-matched October 9, 2012
Benjamin Moore #OC-40 “Albescent”
Color System* Coordinates
Munsell Hue Value Chroma
3.6Y 8.8 1.4
CIE L*a*b* Black to White Green to Red Blue to Yellow
L89.02 a-0.72 b+10.24
Sample SW-2
The first cream-colored layer was matched by eye at 30X magnification under a color-
corrected light source to the Munsell Book of standards and it was measured with a
Minolta CR 241 colorimeter/microscope. The swatch for OC-40 is an excellent visual
match to the best surviving areas of this original light cream-colored interior paneling
paint. The evidence in the cross-section and the uncast samples suggest this paint was
originally moderately glossy and could be reproduced in a semi-gloss level coating.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
62
62
Generation 1. Original gray paint on the second-floor north chamber woodwork
Samples 2NR-1
Color-matched October 9, 2012
Benjamin Moore #2130-40 “Black Pepper”
Color System* Coordinates
Munsell Hue Value Chroma
3.0PB 5.0 1.7
CIE L*a*b* Black to White Green to Red Blue to Yellow
L50.98 a-0.90 b-7.21
Sample 2NR-1
The gray layer was matched by eye at 30X magnification under a color-corrected light
source to the Munsell Book of standards and it was measured with a Minolta CR 241
colorimeter/microscope. The swatch for 2130-40 is an excellent visual match to the best
surviving areas of this original dark gray woodwork paint. The evidence in the cross-
section and the uncast samples suggest this paint was originally moderately glossy and
could be reproduced in a semi-gloss level coating.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
63
63
* COLOR SYSTEMS Derived from the Minolta CR-241 Instruction Manual and
Minolta Precise Color Communication
Chroma Meter CR-241 offers five different color systems for measuring absolute
chromaticity: CIE Yxy (1931), L*a*b* (1976), and L*C*H* (1976) colorimetric
densities DxDyDz; Munsell notation and four systems for measuring color differences.
For two colors to match, three quantities defining color must be identical. These three
quantities are called tristimulus values X, Y, and Z as determined by CIE (Commission
Internationale de l=Eclairage) in 1931.
Color as perceived has three dimensions: hue, chroma and lightness. Chromaticity
includes hue and chroma (saturation), specified by two chromaticity coordinates. Since
these two coordinates cannot describe a color completely, a lightness factor must also be
included to identify a specimen color precisely.
Munsell Color System: The Munsell color system consists of a series of color charts
which are intended to be used for visual comparison with the specimen. Colors are
defined in terms of the Munsell Hues (H; indicates hue), Munsell Value (V; indicates
lightness), and Munsell Chroma (C; indicates saturation) and written as H V/C.
CIE Yxy (CIE 1931): In the Yxy (CIE 1931) color system, Y is a lightness factor
expressed as a percentage based on a perfect reflectance of 100%, x and y are the
chromaticity coordinates of the CIE x, y Chromaticity Diagram.
CIE L*a*b*: Equal distances in the CIE x,y Chromaticity Diagram do not represent equal
differences in color as perceived. The CIE L*a*b* color system, however, more closely
represents human sensitivity to color. Equal distances in this system approximately equal
perceived color differences. L* is the lightness variable; a* and b* are the chromaticity
coordinates.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
64
64
ΔE: ΔE (Delta E) is the industry measure used to determine how closely two colors
match in the CIE L*a*b*. The symbol Δ means “the change in”. It is based on
calculating the sum of the differences between each measure. The calculation is: ΔE =
√(ΔL*) 2 + (Δa*)
2 + (Δb*)
2 , or, the color difference equals the square root of the squared
sums of the differences between each of the three L* a* b* tristimulus values. Industry
color standards indicate a ΔE of 1 is barely perceptible to the human eye, and ΔE of 6 to
7 is acceptable for color matches in the printing industry.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
65
65
REFERENCES
Cross-section Preparation Procedures:
The samples were cast into mini-cubes of polyester resin (Excel Technologies, Inc.,
Enfield, CT). The resin was allowed to cure for 24 hours at room temperature and under
ambient light. The cubes were then ground to expose the cross-sections, and dry polished
with 400 and 600 grit wet-dry papers and Micro-Mesh polishing cloths, with grits from
1500 to 12,000.
Cross-section microscopy analysis was conducted with a Nikon Eclipse 80i epi-
fluorescence microscope equipped with an EXFO X-Cite 120 Fluorescence Illumination
System fiberoptic halogen light source and a polarizing light base using SPOT Advanced
software (v. 4.6) for digital image capture and Adobe Photoshop CS for digital image
management. Photographs and digital images of the best representative cross-sections
are included in this report. UV photographs were taken with the UV-2A filter in place
(330-380 nanometers excitation with a 400 nm dichroic mirror and a 420 nm. barrier
filter). Please note that the colors in the printed photomicrographs may not accurately
reflect the actual color of the samples because the colors in the digital images are affected
by the variability of color printing.
The following fluorescent stains were used for examination of the samples:
Triphenyl tetrazolium chloride (TTC) 4.0% in ethanol to identify the presence of
carbohydrates (starches, gums, sugars). Positive reaction color is dark red or
brown.
Alexafluor 488 (ALEXA) 0.02% in water, pH 9.0, 0,05M borate and 5% DMF.
Positive reaction for proteins is bright yellow-green.
Eosin isothiocyanate (EITC) 0.2% in anhydrous acetone to identify the presence
of proteins. A yellow or yellowish-green colors indicates a positive reaction.
2, 7 Dichlorofluorescein (DCF) 0.2% in ethanol to identify the presence of
saturated and unsaturated lipids (oils). Positive reaction for saturated lipids is pink
and unsaturated lipids is yellow.
Rhodamine B (RHOB) 0.06% in ethanol to identify the presence of oils. Positive
reaction color is bright orange.
N-(6-methoxy-8-quinolyl)-p-toluenesulfonamide (TSQ) 0.2% in ethanol to mark
the presence of Zn in the cast cross-section. Positive reaction color is bright blue-
white.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
66
66
The best cross-section images for each area are included in this report. Photographs were
taken at 40X, 100X, 200X and 400X magnifications.
Information Provided by Ultraviolet Light Microscopy:
When viewed under visible light, cross-sections which contain ground, paint and varnish
may often be difficult to interpret, particularly because clear finish layers look uniformly
brown or tan. It may be impossible using only visible light to distinguish between
multiple varnish layers. Illumination with ultraviolet light provides considerably more
information about the layers present in a sample because different organic, and some
inorganic, materials autofluoresce (or glow) with characteristic colors.
There are certain fluorescence colors which indicate the presence of specific types of
materials. For example: shellac fluoresces orange (or yellow-orange) when exposed to
ultraviolet light, while plant resin varnishes (typically amber, copal, sandarac and mastic)
fluoresce bright white. Wax does not usually fluoresce; in fact, in the ultraviolet it tends
to appear almost the same color as the polyester casting resin. In visible light wax
appears as a somewhat translucent white layer. Paints and glaze layers which contain
resins as part of the binding medium will also fluoresce under ultraviolet light at high
magnifications. Other materials such as lead white, titanium white and hide glue also
have a whitish autofluorescence.
There are other indicators which show that a surface has aged, such as cracks which
extend through finish layers, accumulations of dirt between layers, and sometimes
diminished fluorescence intensity, especially along the top edge of a surface which has
been exposed to light and air for a long period of time.
Pigment Preparation:
Dispersed pigments from specific early layers were crushed onto microscope slides and
permanently mounted under cover slips with Cargille MeltMount with a refractive index
of 1.66. The pigments were viewed under plane polarized light and under crossed polars,
and were compared to a standard set of reference pigments.
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
67
67
Wilton, Hartfield, Virginia
Sample Locations
Samples removed June 21 and July 31, 2012
Exterior Samples:
Detached Transom Window
Window-1. Along edge where there is an accumulation of protected exterior paint.
First-floor Interior Samples:
Southeast Room (Plastered Walls)
SE-1. East wall, north closet, right architrave, at crack about 4’ up.
SE-2. Mantel, upper left corner of molding surround fireplace opening.
SE-3. North wall, window architrave, left side, about 4’ up, at bead molding.
SE-4. West wall closet door, upper right corner, middle right panel.
SE-5. South wall, baseboard plinth, just right of east window.
SE-6. Chair board just right of partition wall door, lower edge of surbase.
SE-7. West wall partition door architrave, right side, about 6 ½’ up.
SE-8. West wall door opening, north side, in blue-painted area, about 7’up.
SE-9. Wall plaster, north wall wall, just left of window, about 6’ up in green-painted
area.
SE-9a. Wall plaster re-sampled in the same area as SE-9.
SE-10. Wall plaster with bright green paint, west wall, below chair board, right of door.
Central North-South Passage
P-1. East side chair board, about 1 ½’ north of door opening.
P-2. East side baseboard, about 1 ½’ north of door opening.
P-3. East side, pegrail, in middle at edge of existing peg hole (only one layer of blue-
green paint).
P-4. North end arched opening, upper right side of architrave (deep red first, then blue-
green).
P-5. East partition wall, door architrave, left side, about 5 ½’ up.
P-6. West wall, door architrave, upper right corner.
P-7. North wall cornice in NE corner (has early red-brown paint).
P-8. East wall cornice in NE corner (only one green paint layer).
P-9. West wall pegrail, at join with right door architrave.
P-10. West wall plaster, at crack in cornice above door.
P-11. West wall, baseboard just right of west wall door.
P-12. East wall plaster on partition wall in NE corner.
Southwest Paneled Room
SW-1. East wall, upper left corner of door architrave.
SW-2. West wall, south door, upper left corner, middle left panel.
SW-3. West wall, south door, inner grain-painted surface, right stile, at hole in upper
corner.
SW-4. West wall, panel below mantel shelf, upper left corner (is this a later board?).
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
68
68
SW-5. West wall, stile just right of south closet door, about 5’up adjacent to door
architrave.
SW-6. West wall, detached pilaster plinth for north pilaster, at rear left edge,
SW-7. Baseboard plinth, northeast corner.
SW-8. West wall, opening for south closet door, left side on darkened cream-colored
paint, upper left corner.
SW-9. West wall, board above fireplace opening, right side.
SW-10. West wall, stile on right side of fireplace opening, near SW-9.
Detached Door Stored in Outbuilding
Door-1. Raised panel side, on blue-gray painted stile.
Door-2. Edge of panel on weathered side with virtually no paint remaining.
East-West Passage:
EW-1. South face of stair above landing, green paint protected by edge of bracket.
EW-2. South face of stair above landing, surface of bracket (stain and varnish?).
EW-3. South wall, chair board, left of arched opening.
EW-4. Board below stair landing, facing west, upper edge.
North Middle Room:
NMR-1 Panel under west wall window seat, upper right corner.
NMR-2. Baseboard under west wall window seat, right side.
NMR-3. Mantel, right pilaster, at top edge.
Second-floor Interior Samples
Second-floor Southeast Room
2SE-1. Back of door, at join of top rail with left stile.
2SE-2. North wall, left panel for window seat surround, at front edge.
2SE-3. North wall, baseboard just left of window seat.
Second-floor Southwest Room
2SW-1. West wall, red wash on plaster above fireplace opening (possible faux-painted
mantel).
2SW-2. West wall, plaster above shelf level, unpigmented limewashes.
2SW-3. North wall, red paint on chair board, just left of window.
Second-floor Passage
2P-1. West wall, upper right corner of door architrave.
2P-2. Passage side door to second-floor south southeast chamber, upper left corner of
middle left panel.
2P-3. West side baseboard just right of door.
Second-floor Stair Passage
2SP-1. Right side of bolection molding below balusters at north end (no red-brown).
2SP-2. Right side of bolection molding below balusters at north end, fascia molding
below sample 2SP-1 (no red-brown).
2SP-3. Right side of bolection molding below balusters at north end, applied backband
molding below sample 2SP-1 (no red-brown).
Wilton Paint Analysis – Susan L. Buck, October 28, 2012
69
69
2SP-4. Southwest corner, fancy raised panel door to closet, upper left corner, middle left
panel.
2SP-5. North wall, door to middle north chamber, upper left corner of middle right
panel. (May have 2 red-brown paint layers because there is red paint on top of the deep
gouge in the left stile.)
Second-floor North Middle Room
2NM-1. Later mantel, fluted pilaster right side where there are remnants of brown paint
on top of early black.
2NM-2. North wall, west closet door, upper left corner, middle right panel.
2NM-3. South wall, chair board 3-feet left of door to stair passage, above bottom bead
molding.
Second-floor North Room
2NR-1. East wall, gray paint at front edge of window seat, left side.
2NR-2. West wall baseboard, remnants of black paint, left of window seat.
2NR-3. East wall plaster, left of window, above chair board.